ARCH 3075 DESIGN 5

CHAN KA HEI, BRIAN

ARCH 3075 DESIGN 5 P O R T F O L I O

3035482453 THE UNIVERSITY OF HONG KONG DEPARTMENT OF ARCHITECTURE

MIHO HIRABAYASHI YEAR 3 SEMESTER 1, 2019-20

01

JOHN HEJDUK'S MASQUE STUDY

MATERIALITY

AND

HEPTIC

SENSE

48. MASTER BUILDER’S HOUSE A WORK OF ARCHITECTURE. THE MASTER BUILDER THE MASTER BUILDER FORGES A CRUCIFORM OF STEEL. 1IN X 1IN X 8FT VERTICAL MEMBER. 1IN X 1IN X 4FT HORIZONTAL MEMBER. HE HUNTED FOR A TWO-HEADED SNAKE, ONE HEAD AT EACH END. AT PAESTUM HE FOUND IT SUNNING ITSELF ON ONE OF THE TEMPLE CAPITALS. HE FIRST IMPALED THE SNAKE AT ITS CENTRE ONTO THE VERTICAL STEEL STAKE MEMBER, THEN ONTO THE HORIZONTAL STEEL MEMBER. THE MYSTERY IS HOW HE DID IT. 6:30 A.M. TO 6:30 P.M. NORDIC PORCELAIN 6:30 A.M. TO 6:30 P.M. THE MASTER BUILDER WASHES HIS TEETH

HEJDUK'S NINE SQUARE GRID PROBLEM ITERATION

▲ In the typical nine-square grid problem exercise, students were given a preexisting nine-square cage within which other architectural elements could be added and arranged. The problem was predicated on two notions of a priori elements.

The first was the frame that provided the context for subsequent architectural operations. The second were the elements that could be added to the frame. ◣ Since the architectural elements that make up the nine-square grid exercise were meant to be abstract, compositional decisions were meant to focus on the spatial figures (or implied spatial figures) that resulted from the placement of walls within the framework of piers. Spaces were not defined by complete and unambiguous enclosure but rather implied by the correspondence of the edges of elements. The definition of space through inference encouraged minimal means for creating a spatial figure.

This characteristic has strong resemblance in the master builder's house, and further pointed out by some hand-drafted sketches when hejduk is designing the house.

MATERIALITY

AND

HEPTIC

SENSE

▲ MATERIAL PALETTE, FROM MASTER BUILDER'S HOUSE The house itself is an expression / experiment of knowledge.

John Hejduk includes his own ideology as well as his passion in mythology and psychology in constructing the story background of the master builder. Possibly implying the master builder carries part of the identity of Hejduk.

▲

SPATIAL ANALYISIS, UNDERSTANDING HEJDUK'S ATTEMPT IN CONVEYING SENSATION THROUGH A CUBIC SPACE (FROM LEFT TO RIGHT: LOCATION; TEXTURE; GEOMETRY; MOVEMENT; AMBIENCE; EVENT)

MASSING 1:100 / STAKING UP OF CUBES OF MATERIAL

MASSING 1:50 / DETAIL MODEL ON MATERIAL LIGHTING TRIAL BEFORE FILM-MAKING

▲ The master builder’s house is as well an spatial experiment as a continuation of the nine square grid question. In the project he was including materially and spatial arrangement in the basic geometry, of which the project might not have ended yet and could be still stacked.

02

VIDEO

PRODUCTION

MATERIALITY AND SOUND ROOM OF BRICK / 1:20 / 0:05

ROOM OF CONCRETE / 1:20 / 0:25

ROOM OF CONCRETE / 0:29

ROOM OF WOOD / 1:20 / 0:43

ROOM OF WOOD / 0:53

ROOM OF BRICK / 0:24

ROOM OF BRICK / 0:11

ROOM OF BRICK / 0:09

MASTER BUILDER'S HOUSE / 1:04

ROOM OF CONCRETE / 0:36

ROOM OF WOOD / 0:49

VIDEO: https://www.youtube.com/watch?v=2024eSNgG_k

03

SITE

ANALYSIS

BUILDING IN BETWEEN MASTERPIECE Building in kulturforum has to be both culturally responsible and aesthetically making sense.

The site is surrounded by renowned architecture each at the period devoted to present a avant-garde perception towards the definition of architecture.

They were using material at the time representing a different kind of thought comparing to mainstream designs.

While due to the history of 20th century wars, a perticular segment of history is required to be awared of.

▲

MATERIAL PALETTE CONSTRUCTED FROM THE SITE SURROUNDING ARCHITECTURE

HOW THE ST. MATTHÄUS-KIRCHE WAS CONTEXTED AND THEN TRANSFORMED ON OCTOBER 5, 1843, A CHURCH BUILDING ASSOCIATION WAS FOUNDED, WHICH WAS TO PROVIDE FOR CHURCH BUILDING IN THE NEWLY PLANNED CITY DISTRICT. THE SECRET COUNCIL WAS CHAIRED

BY JOHANN FRIEDRICH VON KOEHN. A SITE FOR THE ST. MATTHÄUSKIRCHE WAS GIVEN TO THE ASSOCIATION IN THE SAME YEAR, ON DECEMBER 9TH, BY THE DOCTOR DR. COUSIN DONATED, WHO WANTED TO DEVELOP THE AREA BETWEEN THE THEN TIERGARTENSTRASSE AND THE GRABENSTRASSE, TODAY'S REICHPIETSCHUFER ON THE LANDWEHR CANAL. THE CHURCH WAS TO BE BUILT CENTRALLY IN THIS AREA SO THAT A STREET COULD BE BUILT - THE MATTHÄI-KIRCHSTRASSE WITH THE MATTHÄIKIRCHPLATZ. ON JANUARY 1, 1844, VON KOENEN SENT A LETTER TO THE PRUSSIAN KING FRIEDRICH WILHELM IV ASKING FOR THE BUILDING PERMIT FOR THE CHURCH. THIS TOOK PLACE ON JANUARY 27, 1844, TOGETHER WITH THE BUILDING PERMIT FOR DR. COUSIN. THE CHURCH BUILDING WAS BUILT ACCORDING TO A DESIGN BY THE ROYAL OBERBAURATE FRIEDRICH AUGUST STÜLER; THE SCHINKEL STUDENT STÜLER IS CONSIDERED THE MOST PRODUCTIVE AND IMPORTANT ARCHITECT OF HIS TIME. ST. MATTHEW IS PRAISED AS ONE OF HIS MOST BEAUTIFUL CHURCH BUILDINGS. BECAUSE IT WAS BUILT IN THE MIDDLE OF FIELDS, GARDENS AND A PARK LANDSCAPE, THE BERLINERS AFFECTIONATELY CALLED THE LITTLE CHURCH "GOD'S SUMMER PLEASURE" OR "POLKA CHURCH" - BECAUSE OF A NEARBY “DANCE FLOOR”. GOTTFRIED KELLER WROTE How did the St. Matthäus-Kirche perceive the site

HOW DID THE ST. MATTHÄUS-KIRCHE PERCEIVE THE SITE •“TANZPLATZ”, “MATTHÄIKIRCHPLATZ” •“DANCE FLOOR” WITH A LINDEN TREE AS THE CENTER AND ALL AROUND YOUNG LINDEN TREES AS FUTURE SHADE PROVIDERS •CHURCH AS FORMER MÉDIATHÈQUE SERVING THE CENTER OF KNOWLEDGE EXCHANGE IN THE FORM OF DRAWING, READINGS

SITE A N A L Y S I S ACOUSTIC BEHAVIOUR SOFT, CALM,

REVERBERATED, SACRED

PAUSE / EXAGGERATION / CONTINUATION?

CONTROLLED, ACCURATE

SITE UNFOLDED SECTION

NEUE NATIONALGALERIE

ST. MATTHÄUS-KIRCHE

BERLINER PHILHARMONIE

PROPOSED SITE

CREATING SILENCE

HOW TO PERCEIVE SILENCE - GETTING INSPIRED BY JOHN CAGE They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out

— John Cage speaking about the premiere of 4′33 CREATING VOLUME CONTRAST TO CREATE MENTAL "SILENCE"

SOUND MAPPING: https://www.youtube.com/watch?v=NoSP8mrqaEk

04

PROTOTYPE

REACTION WITH CHURCH

PROPORTION TESTING

COURTYARD TYPOLOGY

REACTION WITH CHURCH

HOW TO GENERATE FORM OUT OF SOUND As to extract form towards the way the mediatheque should perform. I looked at the composition of several instruments to get inspiration. Typically the cut section of the speaker box represent a designed pathway for sound to propagate in a more accurate manner, and how the geometry of the brass instrument project sound more focused.

HOW TO PLACE THE BUILDING IN FRONT OF THE CHURCH As it is hoped that the mediatheque could be generally considered as a part of the church, I decided to enclose an inner courtyard with both the church facade and the mediatheque body. Also to connect their underground as a fusion of program from theatre to laboratory.

WHAT MEANING DOES THE BELL CARRIES Glocke 1 / Bronze / e' / Perner / Passau 1988 The Christ said: come to me, all who are laborious and burdened I will refresh u Glocke 2 / Bronze / g' / Perner / Passau 1988 The Christ said: ask, so it will be given to u; Find, so u will find it ;Knock, so it will open up Glocke 3 / Bronze / a' / Perner / Passau 1988 The Christ said: look, i will be with you guys til the end of world

◤

LEFT: FLUTE; RIGHT: SAXOPHONE

05

FINAL

DESIGN

MEDIATHEQUE OF SOUND

SECTION ST. MATTHÄUS-KIRCHE TO MEDIATHEQUE

1:100

SOUND CATCHER

4

SOUND LABORATORY

MUSIC THEATRE

G/F PLAN ST. MATTHÄUS-KIRCHE TO MEDIATHEQUE

G/F PLAN ST. MATTHÄUS-KIRCHE TO MEDIATHEQUE

1:100

1:100

DESIGN THESIS Prospect 1. Assist the church to re-empower its role of being a communal space instead of being majorly monumental.Building the mediatheque as a extention of the church.

2. In a broader picture, create sound sensitive environment for worshippers and sound artists in the mediatheque.

Introducing the sound of bell and pipe organ into the building interior and further down to the underground, trying to imagine the architecture as a instrument to cast sound.

Above the ground the sound of bell and pipe organ project a sacred ambience within the interior of the brass sound catcher, along with the overhead glass lightwell, it allows meditation of worshippers.

Below the ground, the sound from the church is to announce the status of the church and also to trigger visitors' audio sensitivity by only allowing them to hear but not seeing the church above ground.

PLAN NEUE NATIONALGALERIE TO BERLINER PHILHARMONIE PLAN NEUE NATIONALGALERIE TO BERLINER PHILHARMONIE

1:500 1:500

ROOF PLAN PLAN ST. ST. MATTHÄUS-KIRCHE MATTHÄUS-KIRCHE TO TO MEDIATHEQUE MEDIATHEQUE ROOF

1:100 1:100

06

DESIGN MODEL

MODEL SHOTS

CHURCH ALIGNMENT

OUTDOOR AMPHITHEATRE

INNER COURTYARD

BACK VIEW

BOUNDARY CONDITION

CHURCH SIDE PERSPECTIVE

PROTOTYPING STAGES

CHURCH FRONT VIEW

03

RENDERED

COLLAGE

MOMENTS AT SOUND CHAPEL

▲

BRASS SOUND CATCHER INTERIOR, ENTRANCE HALL, THE SOUND CHAPEL

▲

SOUND CATCHER 2ND DECK, ENTRANCE HALL

▲

SIDE COLONNADE, FACING ST. MATTHÄUS-KIRCHE

▲

SITE CONTEXT, SEEN FROM SCHAROUNPLATZ

▲

SITE CONTEXT, SEEN FROM BIRD EYE PERSPECTIVE